Cultural Anamnesis. Retellings. Meet the fey, the wise, the mercurial, the historical and imagined. Tales of spirit and worldview. Truths through myth and mystery, reality and allusion. Humana: how and why do its transmitted tales change. A Gristmill site. By Dint. Where do the old signs lead. Follow the dark rope. Hush. It is still there.

B. The new Disney film of Snow White and the Huntsman also presents an enlightened view of the human dilemma of good and evil, and what to do. Older Disney Snow White film, in animation, ignored anything requiring thought over entertainment and colors.

Our truth from Snow White as Disney unexpectedly presents here:

There are more truths in cultures' legends, recognizing their mythical, universal elements, than there is in any individual theology. Theology attempts to narrow inspiration and interpretation to a few fabricated, overblown, factoids that will suit the power needs of the institution. Legend and myth leave room for individual response. Teachings that are supposed to bind, are chains, hindering the human spirit, drive for autonomy, sustenance, the good. Go, Snow White! Disney, you did yourself proud to get away from pablum.

C. And what happens when the life force is exploited, distorted, removed from the volition and wisdom of the woman, so instead, she is used for the purposes or theologies of others.

D. New Disney Snow White. This newly settinged Snow White is not kid stuff at the core. It is inspirational, evocative, and well worth the ticket.

The particulars of Snow White being hunted in the film differ, of course, from the mere lost in the woods and happening upon dwarves in the older Disney.

But the essence remains: how and why to flee, when reality finally sinks in, how to be safe, and the newer element, how does evil begin and prosper.

How can evil be countered, when fear of its embodiment keeps it in place.

E. In politics, when do the tactics of those determined to be in power, regardless of effect on the peasants, where the powers reject steps to better the condition of all the kingdom, so that their own aggrandizement is served, finally backfire. What does it take to inspire the peasants yet one more time.

F. The film adds a further mythical, legendary element:

How does a woman, as beautiful as the Queen, go bad.

The answer echoes among many of us: taken without will, too soon, exploited; as was the Queen; and then, the culture valuing only beauty. Power comes with beauty, acknowledges the story, and so the Queen, angered and betrayed to the core already, proceeds to take any steps that will retain her physical beauty.

And the huntsman. Is he now, the unexpected, lowly one, the chosen as consort, and not a prince?

G. And the dwarfs are human, faceted, not caricatures for amusement. They perceive, sacrifice, have no silly names.